Spencer will break your heart, but it will bring it warmth, too.

Cassandro is a solid drama that provides another strong showcase for Gael García Bernal's many talents, and marks a largely successful transition into scripted storytelling for Roger Ross Williams.

It’s easy to enjoy the film’s light, airy charms, but once it’s over, you’re left feeling a little empty.

If you’ve seen The Godfather Part III, you’ve essentially seen The Godfather, Coda. Those expecting something drastic, like Coppola’s Apocalypse Now: Redux, are going to be disappointed. Instead, the filmmaker has made little cuts here and there. Cuts that indeed make the lengthy film and its sprawling narratives a bit more concise – it’s eleven minutes shorter than the theatrical cut. And while that may make for a (slightly) brisker experience, it can’t fix all the problems that are irreconcilably baked into the film’s DNA.

King Richard isn't looking to break the sports biopic genre or break the Williams' sister's legacy; it's purely a crowd-pleasing performance vehicle for Smith. But you know what? It does its job.

This is a fictional biography, and yet every moment rings true.

Howard feels like an in-memoriam tribute from a friend: made with a rosy sense of nostalgia, and perhaps a few too many photo montages, but with love.

There are more than a few moments in The Woman King that will have you fist-pumping and grinning like a goofball, amazed at energy of it all. And all that action is often aided by raw, real emotion which is handled deftly.

Asteroid City is a top-tier Wes Anderson original that brings back the carefree fun and charm of some of his best works while also turning his own personal conventions on their ear in an attempt to try new things.

Pearl is an ambitious and bold work of horror that calls into question what it means to deserve love and the bad things we sometimes do to receive it.

At times, "Nothing Compares" can feel like hagiography. It's all a little too slight — so much of O'Connor's life is left out, and the entire thing feels a little bit like the CliffsNotes version of the story. And yet, you also get the sense that if anyone deserves such lionized treatment, it's O'Connor.

Mars Express works because even its most outlandish and complex sci-fi concept is grounded in human drama.

It's not "elevated" horror attempting to reinvent any wheels. It is, however, a very satisfying, very fun, and very well executed scary movie.

For films like Encanto to truly stand out, instead of being content with being good enough, they need to push storytelling limits as much as they push cultural ones.

Once Upon a Time in Uganda is the perfect representation of the enduring spirit of independent cinema, our love for movies, and how they bring the world together.

Plaza's performance, which grows more desperate and more fierce, is what keeps things going. Tension continually mounts and builds, and writer-director Ford stages several anxiety-ridden set-pieces that inspire a sick-to-your-stomach feeling.

The Naked Gun is one of the most consistently and even exhaustingly funny movies in a long time, the kind of outrageous, outlandish comedy that multiplexes have been missing for years. It's truly a revelation to have a movie where the laughs come so fast and furious.

Its disquieting moments of magical realism paired with the all-consuming romance shared between Undine and Christoph — which feels as grand and tragic as the best cinematic love stories — add some warmth to Undine‘s chilly, cosmic exterior.

From a filmmaking standpoint alone, "Nothing Lasts Forever" is one of the more memorable recent documentaries. But it helps that the narrative being told is so fascinating, scooping us up into this globe-trotting world where money talks and everyone — and every diamond — has a story, true or otherwise.

Ultimately, Pay or Die is an infuriating documentary that will make you hate the capitalistic approach to healthcare in America, especially since this is only one disease and one medicine out of many that are being exploited by pharmaceutical companies every day.

As visually overwhelming and artfully engineered a film as The French Dispatch is, it's also one of secret warmth lurking beneath the surface.

This is a tonally rich, libidinously powerful, and psychologically complex tale told by a master filmmaker equally at ease with European art-film conventions and B-movie hijinks. It’s this exceptional balance between the profane and the profound that sets Benedetta apart, truly proving to be penetrating in its effect in more ways than one.

Nimona lives and dies by its main character, and it greatly succeeds in adding to the canon of great animated protagonists. Despite some rocky visual choices, this is a film worth the wait.

Alexandre O. Philippe continues to impress by challenging what we knew of making-of documentaries with a poetic and lyrical film that’s as entertaining as its subject is eloquent, and a fascinating and thought-provoking as the horror classic that the documentary explores.

I had oodles of fun watching Raimi go wild and give McAdams a chance to play the type of unhinged weirdo she hasn't really played before.

It's a handsomely-made film with a game cast, and it's clear that it's a very special project for Branagh. But the filmmaker is unable to convey to us, his audience, why it's so special.

As a road trip movie, Civil War is quite good, with some segments proving more enthralling than others. Dunst is the standout among the cast, keeping us anchored through the more episodic elements, but Wagner Moura, Stephen McKinley Henderson, and Cailee Spaeny contribute strong work.

This is the definitive chronicle of Tony Hawk's incredible rise to become the face of modern skateboarding. ... Though the documentary could have been tightened up a little bit, "Tony Hawk: Until the Wheels Fall Off" is still a thoroughly captivating film about one of the most famous figures in sports.